Space Bambino (Siam/Cotton) ~Intersteller Over Dope (kawabata Tsuyama/Koizumi) Sweet Juicy Lucy (Kawabata/Eddie) Mammary Intercourse (Kawabata / Tsuyama/Koizumi) Hare Hare Hallelujah (kawabata) ~Blow Out super High (Kawabata/Tsuyama/Yoshida) Good-Bye Ice Cream (Tsuyama/Cotton) ~Stone Blind Blue Heaven (Kawabata/Eddie) Reverse Of Universe II (Kawabata)
Cosmic Audrey (Kawabata/Audrey)
~ Acid Takion (Kawabata / Tsuyama/Koizumi)
White Summer Of Love (Tsuyama/Cotton)
~ Third Eye Of The Whole World (Kawabata)
Golden Bat Blues Dead (Kawabata / Tsuyama/Koizumi)
~ Mr. Hardy Guidey Man (Trad./Tsuyama)
Magic Aûm LSD (Magic Aûm)
Astrological Overdrive (Kawabata/Haco)
Right About Rainbow I (Higashi/Johan)
~ Your My Only Super Sunshine (Kawabata/Tsuyama/Koizumi)
~ Right About Rainbow II (Higashi/Johan)
Blue Velvet Blues (Kawabata/Cotton)
"Acid Mothers Prayer" "Speed Guru" "From The Melting Paraiso U.F.O. I" "The Top Head Pixies" "Zen Feedbacker" "Coloradoughnut" "From The Melting Paraiso U.F.O. II" "Amphetamine A Go Go" "Pink Lady Lemonade" "Satori LSD" "Hawaiian Brownie" "Acid Mothers Temple For All!"
The songs on the CD are not indexed as individual tracks, i.e. they are all parts of one 52:59 long track.
Billy J. Kramer's Listen... is one of the more important non-Beatles Liverpool albums of its era, and also one of the better ones. Additionally, it's almost as much a tribute to George Martin's skill as a producer as it is to anything that Billy J. Kramer or the Dakotas brought to the sessions. It shows off the mixture of driving beat, heavy guitars, and emotionally expressive, American-style vocals that characterized the sound of the city, along with the lyrical balladry that the Beatles (especially McCartney, in Martin's hands) had added to the formula. Only a tiny handful of the tracks, such as "Sugar Babe," "Great Balls of Fire," and perhaps "Da Doo Ron Ron," really qualify as a classic, thumping Liverpool rockers, shouters with a heavy bass and raw vocals. The tendency for much of this album is, rather, to focus on Kramer's romantic, ballad style, to which he was marginally suited with his limited vocal abilities. "I Know" (credited to George Martin and Bob Wooler, and which tries hard to be a rewrite of "Do You Want To Know A Secret"), the standard "The Twelfth of Never," "Tell Me Girl," "Still Waters Run Deep," and "It's Up To You" were the direction that someone saw Kramer's voice taking him. Kramer's double-tracked vocals cover a multitude of natural flaws in that voice; only "Tell Me Girl" shows the fraying edges of his singing, and the band keeps a such a solid beat, that it comes off well. And then there are the rocking ballads, which show off the Merseybeat sound as the Beatles had altered it as early as 1963, at its best— "Dance With Me," "I Call Your Name," "Beautiful Dreamer," and Leiber and Stoller's "Yes" (which was actually covered in a better version by Johnny Sandon and the Remo Four on Pye). "Beautiful Dreamer" shows Kramer and the band trying hard to sound like the Beatles on their first album and succeeding 2/3 of the way, except that Ringo would've had a punchier beat and George Harrison a more angular lead guitar part—they get closer to that sound on their cover of Lennon and McCartney's "I Call Your Name." Here as on several other tracks, Martin's piano covers up holes that double-tracking Kramer's voice doesn't. The EMI 100th Anniversary series reissue combines the mono and stereo versions of the album on one CD—the mono is a LOT punchier and heavier, but as usual in Parlophone albums of this period, the stereo mixes reveal a wealth of details in terms of how the rhythm and lead guitar parts, and the bass were put together, and 24-bit processing has left the instruments so clean, that this set of tracks are worth hearing as well, even if it sounds like Kramer is singing from one side of the room and the band working on the other. Mike Maxfield's lead guitar parts on "Sugar Babe" etc. are also worth isolating.
Disc one
"Introduction by Claude Nobs"
"No Lullaby" – 5:34
"Sweet Dream" – 4:52
"Skating Away On The Thin Ice Of The New Day" – 5:20
"Jack In The Green" – 3:36
"One Brown Mouse" – 4:07
"A New Day Yesterday" – 3:07
"Flute Improvisation / God Rest Ye Merry Gentlemen / Bourée†" – 5:41
"Songs From The Wood" – 2:31
"Thick as a Brick" – 12:30 (Anderson / Bostock) † Bourée by Bach, arranged by Anderson.
Disc two
Introduction by Ian Anderson
"Hunting Girl" – 6:00
"Too Old To Rock 'n' Roll, Too Young To Die" – 4:19
"Conundrum" – 6:54 (Barlow / Barre)
"Minstrel In The Gallery" – 5:47
"Cross-Eyed Mary" – 3:39
"Quatrain" – 1:50 (Barre)
"Aqualung" – 8:34 (I. Anderson / J. Anderson)
"Locomotive Breath" – 5:31
"The Dambusters March/Medley/Aqualung (Reprise) (uncredited)" – 3:27 (Anderson / Coates)
Unless noted otherwise, all songs by Ian Anderson.
Ian Anderson – vocals, flute, guitar
Martin Barre – electric guitar, mandolin, marimba
John Evan – piano, organ, accordion, synthesizers
Barriemore Barlow – drums, glockenspiel
David Palmer – portative pipe organ, synthesizers
John Glascock – bass guitar, vocals
Minstrel in the Gallery 8:09 *
Clod Wind to Valhalla 4:17
Black Satin Dancer 6:51
Requiem 3:41
One White Duck / 0-10 = Nothig At All 4:35
Baker St. Muse 16:10 including:
Pig-Me and the Whore
Nice Little Time
Crash-Barrier Woltser
Mother England Reverie
Grace 0:33
All selections written by Ian Anderson, except * some music written by Martin Barre.
Arrangements for orchestra were written by David Palmer.
Ian Anderson - sang and played ac. gtr and flute;
Martin Barre - played el. gtr;
Barriemore Barlow - played drms and prcssn.
John Evan - played pno and orgn;
Jeffrey Hammohd-Hammond - played bss gtr and str. bss.
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